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Suspension of Disbelief
Debora Elgeholm

In the video essay Suspension of Disbelief, a journey to Chernobyl is interlaced with Tarkovskij’s film Stalker. The ‘Mozart-effect’ is called into question and a connection between the Nevada desert and and the prophecies in the Bible is pointed out. The common denominator is our tendency to believe – in connections and simple solutions, in the predestination of events, or that there is a place which can fulfill our innermost desires.

In fiction we often accept facts which we would disbelieve in daily life. Every genre has it’s own agreements with the viewer about what is credible. This phenomenon is called Suspension of Disbelief. Similarly, one can think of any religion as a world of agreements among the initiated. What might seem absurd to a non-religious, may be reasonable for a believer. Here, it’s also given a metaphoric meaning, expressing humanity’s need for faith.

Aspect ratio 1.78:1 (16:9)
Prod. format Generic SD-video
Duration 00:11:30
Language English & Russian & Swedish
Year 2008
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About the artist

Debora Elgeholm

Debora Elgeholm (1976, Sweden) received her MA from School of Photography and Film in Gothenburg, followed by further studies at the Royal Institute of Art, Stockholm.

In her documentary and essayistic films Debora Elgeholm often investigate the connection between different societies and different religious persuasions, as well as relationship between individuals and social, political, and religious groups. The films are often based on quotes and interviews, where the personal story is connected to wider contexts, but Elgeholm also examines the lingering memories of places, times, and events.
Through using archive material as photos, books, films and music Elgeholm put together works that becomes a documentation over tendencies i society, as the fear for invasion from the east during the Cold War, or the heritage of colonialism in missionary work. Debora Elgeholm, b 1976, lives and works in Stockholm, Sweden. Her work has been exhibited in galleries and museums as Bonniers konsthall, and at festivals such as Kurzfilmtage Oberhausen and IFFR Rotterdam. During the winter 2018/19 she has had a studio residency at Iaspis in Stockholm.